“民族形式”不仅是从“左翼”文艺走向人民文艺进程中的核心话语和思想之维，更成为毛泽东思想引领之下建构新民主主义文化、探求中国新文化发展道路的实践课题。新音乐“民族形式”话语生成于全面抗战时期毛泽东对马克思主义中国化的理论建构，涵盖创造性、民族性和中国气派等丰富内涵。恰逢提倡文艺“民族形式”的关键历史节点，冼星海创作出《生产大合唱》《黄河大合唱》等作品；随后开展的民间音乐采风、研究与素材化提炼，以及以“新”字修饰的“新秧歌”“新歌剧”等延安文艺代表形式的诞生，则进一步印证了“民族形式”强大的历史效应。

“National Form”was not only a core discourse and conceptual dimension in the transition from"Left-wing"literature and art to“People’s”literature and art,but also became a practical task in constructing New-democratic culture and exploring the developmental path of China's new culture under the guidance of Mao Zedong Thought.The discourse on the“national form”of new music emerged during the comprehensive Anti-Japanese War,rooted in Mao Zedong's theoretical development of adapting Marxism to the Chinese context.It encompasses rich connotations including creativity,national character,and Chinese spirit.At this critical historical juncture advocating for the“national form”in art and literature,Xian Xinghai composed works such as The Production Cantata and The Yellow River Cantata.Subsequent efforts—including folk music collection,research,and refinement into creative material,as well as the emergence of Yan'an art representative forms like the“New Yangge”and“New Opera”(modified with the word“new”)—further demonstrated the powerful historical impact of the“national form”discourse.